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The Journal of Surrealism and the Americas: Vol. 2 No. 1 (2008) - Table of Contents
“Surrealism and Ethnography: Introduction” by Amy H. Winter, p. i-vi.
“Totemic Landscapes and Vanishing Cultures Through the Eyes of Wolfgang Paalen and Kurt Seligmann” by Marie Mauzé, p. 1-24.
“Surrealist Visions of Pre-Columbian Mesoamerica and the Legacy of Colonialism: the Good, the (Revalued) Bad, and the Ugly” by Keith Jordan, p. 25-63.
“Surrealism and Inuit Art: The Fascination of the Far North” by Florence Duchemin-Pelletier, p. 64-94.
“Bound Objects and Blurry Boundaries: Surrealist Display and (Anti)Nationalism” by Susan Power, p. 95-113.
“Man Ray’s Lost and Found Photographs: Arts of the Americas in Context” by Wendy Grossman, p. 114-139.
“T.J. Demos, The Exiles of Marcel Duchamp” by Bradley Bailey, p. 140-144.
“The Dalí Renaissance: New Perspectives on His Life and Art after 1940 and Danser Gala: L’Art Bouffe de Salvador Dalí” by Mary Ann Caws, p. 145-146.
“Review of ‘The Art of Lee Miller’: Victoria and Albert Museum, 2007” by Peter Barberie, p. 147-151.
“Frida Kahlo in Philadelphia: Life and Death” by Samantha Kavky, p. 152-156.
“Thinking the ‘Post-Indian’: Remix: New Modernities in a Post-Indian World” by Claudia Mesch, p. 157-161.
The Journal of Surrealism and the Americas: Vol. 10 No. 1 (2019) - Table of Contents
“Introduction to the Special Issue on Max Ernst” by Samantha Kavky, p. 1-6.
“Napoleon in the Wilderness: The Transmogrification of a Picture by Max Ernst” by Martin Schieder, p. 7-23.
“Seeing Through an (American) Temperament: Max Ernst’s Microbes, 1946-1953” by Danielle M. Johnson, p. 24-45.
“Max Ernst and the Aesthetic of Commercial Tourism: Max Among Some of His Favorite Dolls” by Carolyn Butler Palmer, p, 46-68.
“Arizona Dream: Maxime Rossi Meets Max Ernst” by Julia Drost, p. 69-83.
“Glowing Like Phosphorus: Dorothea Tanning and the Sedona Western” by Catriona McAra, p. 84-105.
“Conference Review: ‘SURREALISMS: the Inaugural Conference of the International Society for the Study of Surrealism’” by Kristen Strange, p. 106-110.
“Exhibition Review of ‘A Home for Surrealism: Fantastic Painting in Midcentury Chicago’” by Jennifer R. Cohen, p. 111-114.
“Exhibition Review: ‘Native American Art at Documenta 14 and the Issue of Democracy’” by Claudia Mesch, p. 115-120.
The Journal of Surrealism and the Americas: Vol. 7 No. 1 (2013) - Table of Contents
“Introduction to the Issue and Special Section on Native American Surrealisms” by Claudia Mesch, p. i-iv.
“George Morrison’s Surrealism” by W. Jackson Rushing III, p. 1-18.
“César Moro’s Transnational Surrealism” by Michele Greet, p. 19-51.
“A Modernist Moment: Native Art and Surrealism at the University of Oklahoma” by Mark A. White, p. 52-70.
“The Opposite of Snake: Surrealism and the Art of Jimmie Durham” by Mary Modeen, p. 71-95.
“‘My World is Surreal,’ or ‘The Northwest Coast’ is Surreal” by Charlotte Townsend-Gault, p. 96-107.
“Complexity and Contradiction in Native American Surrealism” by Robert Silberman, p. 108-130.
“Review of ‘Double Solitaire: The Surreal Worlds of Kay Sage and Yves Tanguy’ & Kay Sage, ‘The Biographical Chronology and Four Surrealist One Act Plays’” by Larry List, p. 131-134.
The Journal of Surrealism and the Americas: Vol. 6 No. 1 (2012) - Table of Contents
“Notes for a Historiography of Surrealism in America, or the Reinterpretation of the Repressed” by Samantha Kavky, p. i-ix.
“What Makes a Collection Surrealist?: Twentieth-Century Cabinets of Curiosities in Paris and Houston” by Katharine Conley, p. 1-23.
“Dalí, Magritte, and Surrealism’s Legacy, New York c. 1965” by Sandra Zalman, p. 24-38.
“‘What Makes Indians Laugh’: Surrealism, Ritual, and Return in Steven Yazzie and Joseph Beuys” by Claudia Mesch, p. 39-60.
“Cracking up an Alligator: Ethnography, Juan Downey’s Videos, and Irony” by Hjorleifur Jonsson, p. 61-86.
“Review of Effie Rentzou, ‘Littérature Malgré Elle: Le Surréalisme et la Transformation du Littéraire’” by Pierre Taminiaux, p. 87-90.
“In Wonderland: the Surrealist Adventures of Women Artists in Mexico and the United States” by Susan L. Aberth, p. 91-94.
Cities in the Global South face rapid urbanization challenges and often suffer an acute lack of infrastructure and governance capacities. Smart Cities Mission, in India, launched in 2015, aims to offer a novel approach for urban renewal of 100 cities following an area‐based development approach, where the use of ICT and digital technologies is particularly emphasized. This article presents a critical review of the design and implementation framework of this new urban renewal program across selected case‐study cities. The article examines the claims of the so‐called “smart cities” against actual urban transformation on‐ground and evaluates how “inclusive” and “sustainable” these developments are. We quantify the scale and coverage of the smart city urban renewal projects in the cities to highlight who the program includes and excludes. The article also presents a statistical analysis of the sectoral focus and budgetary allocations of the projects under the Smart Cities Mission to find an inherent bias in these smart city initiatives in terms of which types of development they promote and the ones it ignores. The findings indicate that a predominant emphasis on digital urban renewal of selected precincts and enclaves, branded as “smart cities,” leads to deepening social polarization and gentrification. The article offers crucial urban planning lessons for designing ICT‐driven urban renewal projects, while addressing critical questions around inclusion and sustainability in smart city ventures.`
This book review considers three books on Conceptual Art that appeared in this year, by Anne Rorimer, Michael Newman and Jon Bird, and Rosalind Krauss. In 2011 this review was distinguished as one of the most consulted in the history of caa.reviews; see Patricia Kelly, “2002,” at: http://www.caareviews.org/centennial/2002
This is a film review of the German film Run Lola Run, released in 1988.
The Journal of Surrealism and the Americas: Vol. 1 No. 1 (2007) - Table of Contents
"Introduction to the Journal" by Samantha Kavky, Claudia Mesch, and Amy H. Winter, p. i-iii.
"Anti-Surrealist Cross-Word Puzzles: Breton, Dalí and Print in Wartime America" by Julia Pine, p. 1-29.
"William Carlos Williams’ A Novelette: an American Counterproposal to French Surrealism" by Céline Mansanti, p. 30-43
"The Vernacular as Vanguard: Alfred Barr, Salvador Dalí, and the U.S. Reception of Surrealism in the 1930s" by Sandra Zalman, p. 44-67
"Ben Cobb, Anarchy and Alchemy: The Films of Alejandro Jodorowsky" by David Church, p. 68-71
"Tamayo: A Modern Icon Reinterpreted" by Marta Julia Clapp, p. 72-76
"Robert Desnos, Surrealism, and 'Poetic Politics'" by Terri J. Gordon, p. 77-80
"Dali and the Specter of Cinema" by Frédérique Camille Joseph-Lowery, p. 81-84
"Julia Kelly's Art, Ethnography and the Life of Objects: Paris, c. 1925-1935" by Susan Power, p. 85-90
"The Janus-faced Legacy of Joseph Beuys" by Tatjana Myoko von Prittwitz, p. 91-93
"A.J. Meek, Clarence John Laughlin: Prophet Without Honor" by Jeffrey Ian Ross, p. 94-98
It is now generally agreed that Surrealism had a particular affection for non-Western art, objects of interior revelation and inexhaustible sources of the marvelous. The artists of the movement immersed themselves in study of foreign cultures and in the human spirit of people of distant regions. In their quest to renew appropriate sources to support their vision of the world, the movement was passionate about anything associated with the strange and the foreign. The Western world, having sunk into irrationality by abusing reason, and having broken the tie between the physical and the mental, needed to regain a new harmony. Primitive arts provided a path for reconquest of instinct and long-forgotten qualities.
These preoccupations, which they believed similar to their own, led them finally across the globe to the Far North. Some of them, such as Max Ernst, were hypnotized by the Hopi Indians, while others, notably Wolfgang Paalen, were under the spell of British Columbia. However, the fascination for the Far North had a definite place in the history of Surrealism and the Americas.
If their interest in the American Indians is today widely known, that for the Inuit of the Arctic still remains abstract. The principal difficulty of such a study lies in the flagrant absence of written testimonies. The only evidence of their interest is found in a few sentences, letters or poems. Collections, auction records, and inventories of books bought by the different protagonists are also very helpful for understanding their degree of enthusiasm. Nevertheless, these elements remain rather scarce, especially in comparison with the data available for other cultural areas. And it goes without saying that without the famous 1929 Surrealist Map of the World, early interest in the Far North would have remained unexplored. Indeed, this essential document shows an entirely rethought planisphere, in which Alaska, Labrador and Greenland are magnified and almost supplant Oceania.
This paper consequently aims at defining the appreciation of Inuit art, and more generally, the Inuit world, by the Surrealists. It will be shown that this interest was already firmly ingrained in the 1920's, long before the exile. It is highly likely that the renowned art dealer Charles Ratton invited members of the group to see the pieces he regularly acquired. We know that André Breton and Paul Eluard started their own collections soon thereafter and, as attested by the 1931 auction catalogue of their collections at the Hôtel Drouot, they possessed a good number of Inuit artifacts.
The exhibition of then still-little-known Inuit and Northwest Coast objects at the Galerie Charles Ratton in 1935 is also considered. This first encounter between the Surrealists and Yup'ik masks was of great importance since many Surrealist artists and writers, as we know, were fascinated by these shamanistic creations. Paul Eluard, in particular, was amazed by this art and wrote "La nuit est à une dimension" - the only published article dedicated to Inuit art – for Cahiers d’art on the occasion. In this text, and through a rereading of Knud Rasmussen, he reveals his own perception and understanding of the Inuit way of life, its struggles and hopes.
Emphasis is placed on the exile period, in which the attraction for Inuit art was at a climax and multiple opportunities for viewing and acquisition were possible. Most of the individuals gravitating around the Surrealist core saw, loved, and bought Yup’ik masks in New York. In a letter to her husband, Isabelle Waldberg summed up everyday life very well: “We threw ourselves into the poetic atmosphere of Eskimo masks, we are breathing Alaska and we are dreaming Tlingit and we are loving ourselves in the Haida totempoles.”
Finally, this paper will treat the subject from a slightly different perspective than that of previous studies: not only will the history of collecting and the visual panorama of the time be recalled, but the appearance of a specific Inuit representation, unavoidably bound to its unique territory, will also be questioned. Moreover, my argument will focus on possible affinities shared in Surrealist and Inuit thinking. The members of the group admired the aesthetic and plastic inventiveness of Inuit art; but they were also impressed by the inner life of this culture, found in its poetry and beliefs.
The conclusion of this paper will demonstrate that the Surrealists were generous in sharing their knowledge and discoveries. They thereby greatly contributed to acknowledgement of non-Western cultures and transcended the vision we have today of these arts.